From the lead singer of the band Great Big Sea comes a lyrical and captivating musical memoir about growing up in the tiny fishing village of Petty Harbour, Newfoundland, and then taking to the world stage. Singer-songwriter and front man of the great Canadian band Great Big Sea, Alan Doyle is also a lyrical storyteller and a creative force. In Where I Belong, Alan paints a vivid, raucous and heartwarming portrait of a curious young lad born into the small coastal fishing community of Petty Harbour, Newfoundland, and destined to become a renowned musician who carried the musical tradition of generations before him and brought his signature sound to the world. He tells of a childhood surrounded by larger-than-life characters who made an indelible impression on his music and work; of his first job on the wharf cutting out cod tongues for fishermen; of growing up in a family of five in a two-bedroom house with a beef-bucket as a toilet, yet lacking nothing; of learning at his father's knee how to sing the story of a song and learning from his mother how to simply "be good"; and finally, of how everything he ever learned as a kid prepared him for that pivotal moment when he became part of Great Big Sea and sailed away on what would be the greatest musical adventure of his life. Filled with the lore and traditions of the East Coast and told in a voice that is at once captivating and refreshingly candid, this is a narrative journey about small-town life, curiosity and creative fulfillment, and finally, about leaving everything you know behind only to learn that no matter where you go, home will always be with you.
Following the fantastic success of his bestselling memoir, Where I Belong, Great Big Sea front man Alan Doyle returns with a hilarious, heartwarming account of leaving Newfoundland and discovering Canada for the first time. Armed with the same personable, candid style found in his first book, Alan Doyle turns his perspective outward from Petty Harbour toward mainland Canada, reflecting on what it was like to venture away from the comforts of home and the familiarity of the island. Often in a van, sometimes in a bus, occasionally in a car with broken wipers "using Bob's belt and a rope found by Paddy's Pond" to pull them back and forth, Alan and his bandmates charted new territory, and he constantly measured what he saw of the vast country against what his forefathers once called the Daemon Canada. In a period punctuated by triumphant leaps forward for the band, deflating steps backward and everything in between--opening for Barney the Dinosaur at an outdoor music festival, being propositioned at a gas station mail-order bride service in Alberta, drinking moonshine with an elderly church-goer on a Sunday morning in PEI--Alan's few established notions about Canada were often debunked and his own identity as a Newfoundlander was constantly challenged. Touring the country, he also discovered how others view Newfoundlanders and how skewed these images can sometimes be. Heartfelt, funny and always insightful, these stories tap into the complexities of community and Canadianness, forming the portrait of a young man from a tiny fishing village trying to define and hold on to his sense of home while navigating a vast and diverse and wonder-filled country.
National Bestseller One of Newfoundland's funniest and most beloved storytellers offers his cure for the Covid blues. Is there a more sociable province than Newfoundland and Labrador? Or anywhere in Canada with a greater reputation for coming to the rescue of those in need? At this time of Covid, singer, songwriter and bestselling author Alan Doyle is feeling everyone's pain. Off the road and spending more days at home than he has since he was a child hawking cod tongues on the wharfs of Petty Harbour, he misses the crowds and companionship of performing across the country and beyond. But most of all he misses the cheery clamour of pubs in his hometown, where one yarn follows another so quickly "you have to be as ready as an Olympian at the start line to get your tale in before someone is well into theirs already." We're all experiencing our own version of that deprivation, and Alan, one of Newfoundland's finest storytellers, wants to offer a little balm. All Together Now is a gathering in book form--a virtual Newfoundland pub. There are adventures in foreign lands, including an apparently filthy singalong in Polish (well, he would have sung along if he'd understood the language), a real-life ghost story involving an elderly neighbour, a red convertible and a clown horn, a potted history of his social drinking, and heartwarming reminiscences from another past world, childhood--all designed to put a smile on the faces of the isolated-addled. Alan Doyle has never been in better form--nor more welcome. As he says about this troubling time: "We get through it. We do what has to be done. Then, we celebrate. With the best of them.
Often people with mental illness feel alone in society, with no place to go and little hope. Their isolation can be further perpetuated through typical approaches to treatment, such as case management and psychotherapy. Since 1948, the Fountain House "working community" has worked to address the isolation and social stigmatization faced by people with mental illness. This volume describes in detail its evidence-based, cost-effective, and replicable model, which produces substantive outcomes in employment, schooling, housing, and general wellness. Through an emphasis on personal choice, professional and patient collaboration, and, most important, "the need to be needed," Fountain House demonstrates that people with serious mental illness can not only live but also contribute and thrive in society. The authors also explore the evolution of Fountain House practice, which is grounded in social work and psychiatry and informs current strength-based and recovery methodologies. Its inherent humanity, social inclusivity, message of personal empowerment, and innovation—a unique approach on behalf of people suffering from mental illness—have led to the paradigm's worldwide adoption.
Inspired by the verbal exuberance and richness of all that can be heard by audiences both on and off Shakespeare’s stages, Shakespeare’s Auditory Worlds examines such special listening situations as overhearing, eavesdropping, and asides. It breaks new ground by exploring the complex relationships between sound and sight, dialogue and blocking, dialects and other languages, re-voicings, and, finally, nonverbal or metaverbal relationships inherent in noise, sounds, and music, staging interstices that have been largely overlooked in the critical literature on aurality in Shakespeare. Its contributors include David Bevington, Ralph Alan Cohen, Steve Urkowitz, and Leslie Dunn, and, in a concluding “Virtual Roundtable” section, six seasoned repertory actors of the American Shakespeare Center as well, who discuss their nuanced hearing experiences on stage. Their “hearing” invites us to understand the multiple dimensions of Shakespeare’s auditory world from the vantage point of actors who are listening “in the round” to what they hear from their onstage interlocutors, from offstage and backstage cues, from the musicians’ galleries, and often most interestingly, from their audiences.
Josh Alan Friedman has chops like a wolf... This book deserves wide attention." --Jerry Wexler, Atlantic Records co-founder "A can't-put-it-down rock 'n' roll read ... a must for any fan of good music writing and great storytelling." --William Michael Smith, Houston Press "He dances off the page, improvises, hits all the grace notes. He knows the turfspeak of both showbiz and quality lit." --Michael Simmons, High Times "The architects and the artists, the legends and the liars, the famously acclaimed and the anonymously unsung... each one a delectable bit of voyeurism." --PopMatters Back in print in a new, definitive edition, this unflinching, critically acclaimed collection gets up close and personal with some of the most important figures in 20th century blues and rock 'n' roll. From household names to the unacknowledged architects behind both the unforgettable sounds and the multi-billion-dollar industry, here are music's big winners and tragic losers; the self-made, the self-serving, and the self-destructive. BLACK CRACKER author Friedman delivers intimate profiles, unearths secret histories, and shines a light on parts of the music business most prefer not to talk about. An antidote to antiseptic mythologizing, TELL THE TRUTH UNTIL THEY BLEED is show business without the showbiz. At long last, TRUTH is back.
In the 1800s, a number of Victorian and Edwardian writers began writing detective mystery stories - for this was the era when Arthur Conan Doyle was creating Sherlock Holmes tales on a regular basis. Modern authors have attempted to recapture the mystique of Conan Doyle's adventures by writing "new" Holmes stories; yet these attempts frequently fail to capture the original flavor, because 2013 writers simply don't think or speak like Victorians. Conan Doyle's contemporaries wrote about characters of their own invention; nevertheless they sound more like Conan Doyle than do any of his deliberate modern imitators. One of the more successful of these "period" writers was Sax Rohmer. Now in 2012, both Sax Rohmer's stories and the Conan Doyle canon are all in the public domain. Thus it is now possible to present ... Sax Rohmer's version of Sherlock Holmes. NOTICE: This book is a pastiche prepared entirely from Public Domain sources. No Copyrighted Materials were used in this project.
Heartbreaking and hysterically funny, Josh Alan Friedman delivers a fearless account of adventures in the forgotten poor Black shantytowns of Long Island, exploring the singular ugliness of racism, the intrigue of janitorial whodunits, the tragic limits of friendship, and the inexplicable seductive powers of croco-print footwear.
This study provides the first comprehensive examination of every prop in Shakespeare's plays, whether mentioned in stage directions, indicated in dialogue or implied by the action. Building on the latest scholarship and offering a witty treatment of the subject, the authors delve into numerous historical documents, the business of theater in Renaissance England, and the plays themselves to explain what audiences might have seen at the Globe, the Rose, the Curtain, or the Blackfriars Playhouse, and why it matters. Students of the plays will be able to read beyond Shakespeare's words and visualize the drama as it might have appeared on the stage. Scholars will find a wealth of previously unmined material for reconstructing Renaissance theatrical practices. School drama groups, amateur theaters and directors and prop masters of professional troupes will find help in mounting their own productions as the Bard's audiences would have seen them.
A course for beginners learning Portuguese, designed both for the independent learner and for those studying in a class. The book also offers an insight into the people, life and culture of Portugal, and two accompanying cassettes are also available separately.
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